Some people would rather test a universe-threatening hypothesis than go to therapy and it shows. But that’s the commonality with so many stories throughout humanity, isn’t it? Instead of facing the real, internal problem, humankind manufactures a greater dilemma that, intentionally or otherwise, forces them to, inevitability, confront the most uncomfortable part of themselves. To borrow a phrase from another science fiction story, “dread it, run from it, destiny arrives all the same.” This is the crux of writer/director/actor Stimson Snead in his feature-film directorial debut, Tim Travers and the Time Traveler’s Paradox, a film which co-mingles elements of physics and philosophy with a healthy dose of absurdism and violence to craft a compellingly soulful exploration of self.
L-R: Samuel Dunning as Tim Travers and Felicia Day as Delilah in TIM TRAVERS AND THE TIME TRAVELER’S PARADOX. Photo courtesy of An Immortal.
For all of his life, Tim Travers (Samuel Dunning) has embraced the questions of the universe, utilizing science to test theory after theory, regardless of whether that’s left him alone or not. Now, he’s on the cusp of his greatest professional accomplishment, testing the time traveler’s paradox, but, even with victory in his grasp, he may just discover that the questions of the universe can truly only be answered from within.
Samuel Dunning as Tim Travers in TIM TRAVERS AND THE TIME TRAVELER’S PARADOX. Photo courtesy of An Immortal.
Based upon Snead’s 2022 short film of the same title, Time Traveler’s Paradox is the sort of film that, upon first glance, appears to be throwing everything it can into the narrative: romance, science, comedy, cosmic horror, full-throated explorations of philosophy, and loads of bloodshed. If one comes for the chaos, well, there’s no denying that Snead delivers. The casualness with which Tim executes the initial test is merely an amuse-bouche, signaling to the audiences that violence is perfectly acceptable in this cinematic reality and is going to be par for the course moving forward. Notably, the VFX aren’t high caliber, but that’s not derogatory, it’s complimentary as this enables the film to maintain a cheeky vibe that works in concert with the absurdity on display. If the film went realistic at any point, Time Traveler’s Paradox would turn into a horror show that would distract from the exploration of self. More importantly, a realistic expression of violence would turn the totality maudlin, damaging the chance for introspection by losing the audience to dramatics. Time Traveler’s Paradox succeeds as both sci-fi entertainment and a philosophical adventure *because* it’s not grounded in reality, even when the theories of the natural and metaphysical worlds are the anchor within it.
Stimson Snead as Helter in TIM TRAVERS AND THE TIME TRAVELER’S PARADOX. Photo courtesy of An Immortal.
For the uninformed, The Time Traveler’s Paradox refers to a temporal paradox, meaning that a contradiction occurs in time that shouldn’t have occurred. Within the context of the film, Tim wants to know what happens if he travels back in time one minute and kills himself as the version of himself who exists in his perception of the present shouldn’t exist since the version of himself from one minute ago doesn’t exist. This is the basis for the initial bit of violence as Tim successfully completes the task and then starts confirming the theory through rigorous re-testing. This is where the start of the violence begins and, yes, it’s treated more or less as comically as one would expect (or hope). The act of killing oneself within this context is a huge deal because it requires a conscious choice to repeatedly die, knowing full well that you don’t want to and accepting it all the same because, as a scientist in a sci-fi movie, one must do what one must. Dunning (Indignation) gives Tim the necessary resoluteness to prevent each death feeling like a tragedy and instead feeling more as a dispassionate checking of a box. This is the opening that Snead uses to start the exploration of self; what does it say about someone who can dissociate themselves from themselves? It’s a bit of a play on “hell is other people” with the twist being they’re mostly himself. From here, however, Snead manages to create poignancy in the way that the Tims start to differ from one another, producing separations between the Tims that generate individuality. Thankfully, Snead inspires Tim to utilize name tags for better following of which Tim is who and doing what; yet, even without this, a point arises in which Dunning articulates differentiation through a shift in physicality, vocal performance, or even the way his hair rests atop his head. Individuality becomes excruciatingly important, not just because it allows Snead and Dunning to play with who Tim is as multiples, but it affords a slow shift toward the real intention of the film, which is to force Tim to look into the parts of himself that he’s avoided all of his life in pursuit of science glory. Through humor comes tenderness and a requirement that glory achieved means nothing if the success doesn’t fulfil you. Put another way, if one defines themselves solely by their achievements, then there is no end to the emptiness within yourself because any goal met falls into the proverbial black hole of need that’s been created through a false definition of true success. This is also what creates the internal escalation necessary for Snead to get truly absurd in the third act as Tim’s internal struggles come to bear the brunt of Tim’s external consequences, enabling the narrative to poke at the idea of time travel, identity, philosophy, and faith in the quest to avoid therapy.
Danny Trejo as Royce in TIM TRAVERS AND THE TIME TRAVELER’S PARADOX. Photo courtesy of An Immortal.
For all the armchair scientists (and the legit ones, too), Snead doesn’t forget certain immutable laws of physics while creating visual or situational gags to serve the immediate and larger narrative elements, you just need to be paying close attention to catch them. So even when Tim builds himself a Council of Tims, consequences arise in forms direct to Tim and to the world at large, first hinted in the background until they cannot be ignored.
Joel McHale as Bunratty in TIM TRAVERS AND THE TIME TRAVELER’S PARADOX. Photo courtesy of An Immortal.
For loads of folks, this reviewer included, a big draw for Time Traveler’s Paradox is the inclusion of fellow cast members Danny Trejo (Desperado; Machete), Joel McHale (It’s a Wonderful Knife; Community), Keith David (They Live; Community), and Felicia Day (Buffy the Vampire Slayer; Eureka), who each completely and totally understand the assignment. Trejo offers his trademark gruffness with a side of heart; McHale’s dry delivery underscores the grotesque nature of his character’s dialogue; David brings a gravitas that makes his ridiculous dialogue generate infectious laughter; and Day turns the dial up to 11 on vulgarity, making one exit scene riotously memorable. Each of these performers, even Snead as a pitiful hitman after Tim, never once steals the spotlight from Dunning, even as they share it, lifting the performer up in the truest sense of collaboration. They are there just enough to help the script make a point about Tim or impact Tim’s arc and then fade away. This is Tim’s story, after all, and it wisely uses each supporting cast member to ensure their contributions are significant and, therefore, felt when all of it goes to shit.
Keith David as The Simulator in TIM TRAVERS AND THE TIME TRAVELER’S PARADOX. Photo courtesy of An Immortal.
When it comes to cinematic entertainment, it’s easy to overlook smaller productions and proclaim “there’s nothing to see.” In truth, there’re countless original stories waiting for discovery. Snead’s Tim Travers and the Time Traveler’s Paradox is exactly what folks have been looking for and it has been waiting for you to come along. The questions it asks and the ones it answers are surprisingly profound and Snead manages to thread the needle well between keeping the laughs flowing while maintaining dramatic tension. The greatest compliment that one can give is the desire to share a film as soon as it’s been watched and, dear readers, this title fits that bill. It is funny and sweet, unapologetically explores sex and love, acknowledges that it maybe goes too far and then keeps going, and, just perhaps, makes itself a bit of a paradox in the process.
In select theaters May 30th, 2025.
Available on digital June 24th, 2025.
For more information, head to the official Tim Travers and the Time Traveler’s Paradox linktree.
Final Score: 4 out of 5.
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Categories: Films To Watch, In Theaters, Recommendation, Reviews, streaming
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